Madam Satan
"You've Never Seen Anything Like It!"
Plot
Angela Brooks is a demure socialite whose husband, Bob, is straying with a vivacious showgirl named Trixie. To win him back, Angela adopts the persona of 'Madam Satan,' a mysterious and seductive French femme fatale, and attends a lavish masquerade ball held aboard a massive dirigible moored over New York City. Clad in a scandalous, revealing costume, she successfully 'vamps' her own husband, who fails to recognize her and becomes completely infatuated with this exotic stranger. The night of revelry takes a terrifying turn when a violent thunderstorm strikes, causing the airship to break apart and forcing the costumed socialites to parachute for their lives. In the chaos, Angela reveals her identity, saves Trixie, and ultimately reconciles with Bob after he realizes the depth of her passion and ingenuity.
About the Production
The film was Cecil B. DeMille's second production for MGM and his only attempt at a musical. It was the most expensive film MGM produced in 1930. The production was noted for its massive scale, particularly the Zeppelin set which featured a full-sized ballroom. DeMille originally sought Dorothy Parker to work on the script, but settled on vaudeville writer Elsie Janis. The film was shot in 59 days, finishing ahead of its 70-day schedule despite its complexity.
Historical Background
Released in 1930, 'Madam Satan' arrived during the 'Pre-Code' era of Hollywood, a brief window before the strict enforcement of the Hays Code in 1934. This allowed for the film's risqué dialogue, suggestive costumes, and themes of infidelity and 'vamping.' It also reflects the transition from silent to sound cinema, as DeMille experimented with how to use music and dialogue to enhance his signature spectacle. The film's fascination with dirigibles mirrored the real-world 'Zeppelin mania' of the late 1920s and early 30s, occurring seven years before the Hindenburg disaster.
Why This Film Matters
The film is considered a prime example of 'straight camp' and is celebrated by film historians for its sheer eccentricity and genre-bending nature. It serves as a bridge between the sophisticated 'boudoir comedies' of the 1920s and the massive disaster epics that would become a Hollywood staple decades later. Its 'Ballet Mecanique' is often cited as a landmark of Art Deco surrealism in cinema, influencing the visual language of later science fiction and musical films.
Making Of
The production was a massive undertaking that saw DeMille attempting to blend his silent-era 'bedroom farce' style with the new demands of the 'talkie' musical and disaster genres. Mitchell Leisen, who later became a major director, served as an assistant director and art director, contributing significantly to the film's avant-garde visual style. The Zeppelin sequence was a technical marvel of its time, utilizing intricate miniatures and massive practical sets to simulate the airship's destruction. Tensions existed regarding the choreography; DeMille wanted Theodore Kosloff, but MGM insisted on Leroy Prinz, though many historians believe Kosloff still choreographed the 'Ballet Mecanique' uncredited.
Visual Style
Photographed by Harold Rosson, the film utilizes high-contrast lighting and deep focus to highlight the intricate Art Deco sets. The use of 'Multicolor' for the party sequence was intended to create a dreamlike, vibrant atmosphere, though modern viewers must rely on the black-and-white preservation which still showcases the brilliant textures of Adrian's costumes.
Innovations
The film is a landmark in early sound-era special effects, particularly the use of miniatures and mechanical effects to depict the breaking apart of the Zeppelin. The 'Ballet Mecanique' sequence is a masterpiece of production design, blending human performance with industrial, machine-like aesthetics.
Music
The score includes songs such as 'Live and Love Today,' 'This Is Love,' and 'Low Down.' Abe Lyman and his Band provide the music for the masquerade ball. The soundtrack was notable for its technical integration, featuring long stretches of continuous music that were rare in early sound films.
Famous Quotes
I'll make him so sick of vice he'll scream for decency!
When we got married, you ceased being my pal and became just my wife.
I am Madam Satan! I've come from hell to take you back with me!
Memorable Scenes
- The 'Ballet Mecanique' sequence where dancers dressed as electrical components perform a surreal tribute to technology.
- The reveal of Angela's 'Madam Satan' costume, which features a cloak that opens to reveal a skin-tight, sequined gown with a devilish motif.
- The climax where the Zeppelin is struck by lightning and the socialites must jump into the night sky over New York City.
- The 'sing-off' between Angela and Trixie on the Zeppelin dance floor.
Did You Know?
- Kay Johnson, who plays Angela/Madam Satan, was the mother of actor James Cromwell.
- The 'Ballet Mecanique' sequence features 120 dancers in costumes representing electricity, spark plugs, and lightning bolts.
- Cecil B. DeMille's voice can be heard in the film as the radio announcer during the final reel.
- The film was originally released with sequences in 'Multicolor,' an early color process, though these only survive in black and white today.
- Gloria Swanson was DeMille's first choice for the lead, but she turned it down on the advice of Joseph P. Kennedy.
- The dirigible in the film is named the 'CB-P-55,' a nod to DeMille's initials.
- Lillian Roth, who plays Trixie, later became the first celebrity to publicly associate herself with Alcoholics Anonymous.
- The film features a 'sing-off' between the wife and the mistress on the dance floor.
- The elaborate costumes were designed by the legendary Adrian, while the Art Deco sets were by Cedric Gibbons.
- At the time of its release, it featured the longest unbroken musical score yet placed in a talking picture (approx. 10.5 minutes).
What Critics Said
Initial reviews were largely negative or bewildered. Mordaunt Hall of The New York Times called it an 'inept story' and 'tedious,' while Variety famously dubbed it a 'super-special-balogny-gem.' However, modern critics have rediscovered the film as a cult classic, praising its 'unbelievable camp' and technical audacity. It currently holds a high audience rating on platforms like Rotten Tomatoes among classic film enthusiasts who appreciate its unique weirdness.
What Audiences Thought
Audiences in 1930 were largely confused by the film's jarring shift from domestic comedy to musical revue to disaster epic, leading to a significant box office loss for MGM. However, the Zeppelin sequence was generally viewed as a spectacular achievement. Today, it enjoys a dedicated following in the 'Pre-Code' and 'Camp' film communities.
Film Connections
Influenced By
- Die Fledermaus (Operetta)
- The Guardsman (Play)
- Metropolis (1927)
- The sophisticated comedies of Ernst Lubitsch
This Film Influenced
- The Hindenburg (1975)
- The Poseidon Adventure (1972)
- Flash Gordon (1980) - Visual aesthetic
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Film Restoration
The film is preserved, though the original 'Multicolor' sequences are currently only available in black and white. It has been released on DVD via the Warner Archive Collection.